The makers mark of one of the recorders, in the form of a stylized letter "A", has been associated with the Schnitzer family of instrument makers in Germany, leading Hermann Moeck to suppose that Ganassi's recorder might have been Northern European in origin. The embouchure for alto flute is similar to that for C flute, but in proportion to the size of the instrument. In the 2012 Charlotte Barbour-Condini became the first recorder player to reach the final of the biennial BBC Young Musician of the Year competition. Notably, Georg Philipp Telemann's concerto TWV 51:F1 makes use some of these notes in the third octave, posing significant technical challenges to the player, perhaps requiring the covering of the bell or other unusual techniques. The bore of the alto flute is considerably larger in diameter and longer than a C flute and requires more breath from the player. Recorder player Sophie Westbrooke was a finalist in the 2014 competition.[104]. As a result, covering the fourth hole affects the pitch more than covering any of the holes below it. In the classical literature, the alto flute is particularly associated with the scores of Igor Stravinsky and Maurice Ravel, both of whom used the instrument's distinctive tone color in a variety of scores. Feedback from the resonance of the tube regulates the pitch of the sound. In others, flutes of the same length have differing hand positions. Recorders made in the early 20th century were imitative of baroque models in their exterior form, but differed significantly in their structure. It is fruitwood in one piece with turnings, measuring about 256 mm (10.1 in) long. Von Huene and his Australian colleague Frederick Morgan sought to connect the tradition of the historical wind-makers to the modern day with the understanding that doing so creates the best instruments, and those most suited to ancient music. With few exceptions, the duct flutes manufactured in the 19th and late 18th centuries were intended for amateur or educational use, and were not constructed to the high standard of earlier epochs. This ability, coupled with its open finger holes, allow it to produce a wide variety of tone colors and special effects. During the baroque period, the recorder was traditionally associated with pastoral scenes, miraculous events, funerals, marriages, and amorous scenes. [111] Invented by Carl Dolmetsch in 1957, he first used the bell-key system publicly in 1958. Additionally, some collections such as those of Pierre Attaingnant and Anthony Holborne, indicate that their instrumental music was suitable for recorder consorts. In modern usage, recorders not in C or F are alternatively referred to using the name of the closest instrument in C or F, followed by the lowest note. [5][14] The reason we know this instrument as the recorder and not one of the other instruments played by the jongleurs is uncertain. The French innovations were taken to London by Pierre Bressan, a set of whose instruments survive in the Grosvenor Museum, Chester, as do other examples in various American, European and Japanese museums and private collections. [44] These pitch standards allow recorder players to collaborate with other instrumentalists at a pitch other than A=440 Hz. In normal play, articulated attacks should align with the proper fingering, even in legato passages or in difficult finger transitions and the fingers move in the brief silence between the notes (silence d'articulation) created by the stoppage of the air by the tongue. Some of the earliest music must have been vocal repertory. Vorrei sapere le note per flauto dolce dell'Inno d'Italia,su internet le ho cercate ma non c'erano tutte,ovvero c'era solo la prima parte. [71][72] While the iconographic criteria for a recorder are typically a clearly recognizable labium and a double handed vertical playing technique,[55] such criteria are not prescriptive, and it is uncertain whether any of these depictions should be considered a single instrument, or constitute a kind of recorder. [4][3] As a result of the lack of high harmonics, writers since Praetorius have remarked that it is difficult for the human ear to perceive correctly the sounding octave of the recorder. The sizes most commonly in use today are the soprano (aka "descant", lowest note C5), alto (aka "treble", lowest note F4), tenor (lowest note C4) and bass (lowest note F3). While the illustrations have been called "maddeningly inaccurate" and his perspectives quirky,[62] Virdung's treatise gives us an important source on the structure and performing practice of the recorder in northern Europe in the late 15th and early 16th centuries. [91] Support for this view rests on the organological classification of some 19th century duct flutes as recorders. Viola parts are written in the alto clef—middle C on the third line. The German-American maker Friedrich von Huene was among the first to research recorders held in European collections and produce instruments intended to reproduce the qualities of the antiques. [4][3], The instrument has been known by its modern English name at least since the 14th century. Our present knowledge of the structure of recorders in the Middle Ages is based on a small number of instruments preserved and artworks, or iconography, from the period. The top of the instrument is damaged: only a cut side of the windway survives, and the block has been lost. Some recent researchers contend that some 19th century duct flutes are actually recorders. [11][12] The association between the various, seemingly disparate, meanings of recorder can be attributed to the role of the medieval jongleur in learning poems by heart and later reciting them, sometimes with musical accompaniment. A number of specialist alto flute players have emerged in recent years. He is the first to differentiate between the amount of the breath (full, shallow, or moderate) and the force (relaxed or slow, intense, and the median between them) as well as the different amount of air required for each instrument, and describes a trill or vibrato called a vox tremula in which "a tremulous quality in the breath" is combined with a trilling of the fingers to vary the interval from anything between a major third and a diesis. the steepness of the ramp) among other parameters. Giovanni Saviello. It has a cylindrical bore about 13.6 mm (0.54 in) at the highest measurable point, narrowing to 13.2 mm (0.52 in) between the first and second finger holes, to 12.7 to 12.8 mm (0.50–0.50 in) between the second and third finger holes, and contracting to 11.5 mm (0.45 in) at the seventh hole. With the thumb hole and the first three finger holes covered, the reconstruction produces a pitch ca. David Lasocki, "Recorder", §I. The pitch generally increases with velocity of the airstream, up to a point.[47]. They feature virtuosic solo writing, and along with his concerto RV 441 and trio sonata RV 86 are his most virtuosic recorder works. Recorders are also often referred to by their lowest sounding note: "recorder in F" refers to a recorder with lowest note F, in any octave. These several hundred divisions use quintuplets, septuplets, note values from whole notes to 32nd notes in modern notation, and demonstrate immense variety and complexity. Baroque fingering; Double holes; Stained maple; Pitch: a'= 442 Hz; 3-Piece instrument; Includes a cotton bag with leather trim This Moeck 2320 Flauto Rondo alto is made of maple, and is an ideal wooden recorder for the improving player who requires a more flexible tone with increased dynamic potential. [26], Today, a wide variety of hardwoods are used to make recorder bodies. This is made possible by the fact that adjacent sizes are separated by fifths, with few exceptions. Dart did, however, bring to light numerous newspaper references to Paisible's performance on an "echo flute" between 1713 and 1718. Forked fingerings allow recorder players to obtain fine gradations in pitch and timbre. The air stream is affected by the shaping of the surfaces in the head of the recorder (the "voicing"), and the way the player blows air into the windway. The immediate difference in fingering is for F (soprano) or B♭ (alto), which on a neo-baroque instrument must be fingered 0 123 4–67. Consequently, the most air leaks from the fourth hole and the least air leaks from the seventh hole. It is notable for its quick response and its corresponding ability to produce a wide variety of articulations. A consort of recorders or similar make, marked "P.GRE/C/E," was donated to the Accademia in 1675, expanding the pair marked "C.RAFI". The recorder produces sound in the manner of a whistle or an organ flue pipe. Purcell, J. S. Bach, Telemann, and Vivaldi used the recorder to suggest shepherds and imitate birds in their music.[83]. Marvin has designed a flauto doppio based on the Oxford instrument, scaled to play at F4 and C5. On most "baroque" modeled modern recorders, the lower two fingers of the lower hand actually cover two holes each (called "double holes"). The recorder sound, for the most part, lacks high harmonics and odd harmonics predominate in its sound with the even harmonics being almost entirely absent, although the harmonic profile of the recorder sound varies from recorder to recorder, and from fingering to fingering. Scopri le offerte sugli articoli Yamaha e risparmia! The widely spaced doubled seventh hole persisted in later instruments. Recorders have historically been constructed from hardwoods and ivory, sometimes with metal keys. The air stream alternately travels above and below the labium, exciting standing waves in the bore of the recorder, and producing sound waves that emanate away from the window. Federico Maria Sardelli concurs with Michel in supposing that the margin note was intended to allow the performance of the concertos on the soprano recorder on a specific occasion, however concludes that they were probably written for the sopranino recorder in F5, noting that small transverse flutes had fallen out of use in Italy by Vivaldi's time, the paucity of flageolets in Italy, the range of the parts, and uses of the flautino in vocal arias.[86]. For example, at the same air speed the fingering 0123 5 sounds higher than 01234 but lower than 0123. Se volete ottenere un tono più alto nella canzone/suono che state creando è possibile associare diverse note assieme come qualsiasi strumento di altro tipo. The curved headjoint is frequently preferred by smaller players because it requires less of a stretch for the arms, and makes the instrument feel lighter by moving the center of gravity nearer to the player. (BA.BA10603). While he was responsible for broadening interest in the United Kingdom beyond the small group of early music specialists, Dolmetsch was not solely responsible for the recorder's broader revival. [9] Thus, the recorder cannot have been named after the sound of birds. Rare sizes and notations include the garklein, which may be notated two octaves below its sounding pitch, and the sub-contrabass, which may be notated an octave above its sounding pitch. Thus, at the same air pressure, the fingering 01235 produces a pitch between 0123 and 01234. Rather, it is the basis for a much more complex fingering system, which is still being added to today. (see Renaissance structure), Transpositions ("registers"), such as C3–G3–D4, G3–D4–A4, or B♭2–F3–C4, all read as F3–C4–G4 instruments, were possible as described by Praetorius in his Syntagma Musicum. Owing to its ubiquity as a teaching instrument and the relative ease of sound production, the recorder has occasionally been used in popular music by groups such as The Beatles;[106] the Rolling Stones (see, for example, "Ruby Tuesday"); Yes, for example, in the song "I've Seen All Good People"; Jefferson Airplane with Grace Slick on Surrealistic Pillow;[107] Led Zeppelin ("Stairway to Heaven"); Jimi Hendrix;[108] Siouxsie and the Banshees;[109] Judy Dyble of Fairport Convention; Dido (e.g. [93] Around 1800 in England, the recorder ("English flute," see Name) came to be called an "English flageolet," appropriating the name of the more fashionable instrument. Articulations are roughly analogous to consonants. Winfried Michel was first to argue in favor of the soprano recorder in 1983, when he proposed to take Vivaldi at his word and transpose the string parts down a fourth and play the flautino part on a soprano recorder in C5 (also "fifth-flute") using the English practice of notating such flutes as transposing instruments using the fingerings of an alto recorder. The player is able to control the speed and turbulence of the airstream using the diaphragm and vocal tract. Most of these makers also built other wind instruments such as oboes and transverse flutes. [85] He has edited editions of RV 443 and RV 445 for soprano recorder in G major and E minor respectively. The instrument has four holes finger-holes and a thumb hole for each hand. Recorders with a cylindrical profile are depicted in many medieval paintings, however their appearance does not easily correspond to the surviving instruments, and may be stylized. For this reason, the number of professional exponents of the recorder was smaller than that of other woodwinds. Surviving instruments which are candidates for echo flutes include an instrument in Leipzig which consists of two recorders of different tonal characteristics joined together at the head and footjoints by brass flanges. As the number of nodes in the tube increases, the number of notes a player can produce in a given register decreases because of the physical constraint of the spacing of the nodes in the bore. The earliest surviving recorders of this type were made by the Rafi family, instrument makers active in Lyons in Southern France in the early 16th century. Recorders with a square cross-section may be produced more cheaply and in larger sizes than comparable recorders manufactured by turning. This usage is not totally consistent. F3–C4–C4–G4, or play six-part music by doubling the upper size and tripling the middle size, e.g. The wood of choice is maple wood or pear wood. Ganassi gives fingering tables for a range of an octave and a seventh, the standard range also remarked by Praetorius, then tells the reader that he has discovered, through long experimentation, more notes not known to other players due to their lack of perseverance, extending the range to two octaves and a sixth. [27][28][29][30][31][32] Relatively fewer varieties of wood are used to make recorder blocks, which are often made of red cedar, chosen because of its rot resistance, ability to absorb water, and low expansion when wet. According to Virdung, the configurations F–C–C–G or F–C–G–G should be used for four-part music, depending on the range of the bass part. French maker Philippe Bolton created an electroacoustic recorder[110] and is among the last to offer mounted bell-keys and double bell-keys for both tenor and alto recorders. Questo non serve solo per produrre un suono migliore, è anche semplificare il piazzamento della Pietra Rossa. He also shows the different "registers" of consort possible, 2′ (discant, alt, and tenor), 4′ (alt, tenor, and basset), and 8′ (tenor, basset, and bass) (see also Nomenclature). Unlike Getutscht, which provides a single condensed fingering chart, Agricola provides separate, slightly differing, fingering charts for each instrument, leading some to suppose that Agricola experimented on three different instruments, rather than copying the fingerings from one size to the other two. To distinguish the transverse flute from the recorder, it was referred to in Italian as the flauto traverso, in German as the Querflöte, and in French as the flûte traversière-all of which mean "sideways held flute." 1: Nomenclature. Agricola also calls the tenor "altus," mistakenly depicting it as a little smaller than the tenor in the woodcut (above, middle right). Controversy aside, there is little question that these instruments are at least precursors to later instruments that are indisputably recorders. The recorder is a family of woodwind musical instruments in the group known as internal duct flutes—flutes with a whistle mouthpiece, also known as fipple flutes. Transliterations of common articulation patterns include "du du du du" (using the tip of the tongue, "single tonguing") "du gu du gu," (alternating between the tip and the back of the tongue, "double tonguing") and "du g'll du g'll" (articulation with the tip and the sides of the tongue, "double tonguing"). Many reasons supporting the conventional view that the recorder declined have been proposed. For the performance of baroque music, A=415 Hz is the de facto standard,[42] while pre-Baroque music is often performed at A=440 Hz or A=466 Hz. He prefers fleute d'Italien or the Italian flauto. The bore expands to 14.5 mm (0.57 in) at the bottom of the instrument, which has a bulbous foot. In this capacity, the tongue has two basic functions: to control the start of the note (the attack) and the end, or the length of the note (legato, staccato). [35] Alternatively, some recorders have a bent bore that positions the windway closer to the keys or finger holes so the player can comfortably reach both. The instrumentation of BWV 1057 is uncontroversial: fiauti à bec unambiguously specifies recorders, and both parts have been modified to fit comfortably on altos in F4, avoiding, for example, an unplayable Eb4 in the second fiauto that would have resulted from a simple transposition of a tone. If you want to know more about this effect, download our technical paper about it. 2, alto, by Hugh Orr Berandol BER 1023. Le terme flauto piccolo (« petite flûte » en italien) est toutefois antérieur : pendant l'époque baroque et jusqu'à celle de Mozart, il désigne la flûte à bec soprano ou le petit flageolet. A musician who plays the flute can be referred to as a flute player, flautist, flutist or, less commonly, fluter or flutenist. One essential use of partial covering is in "leaking," or partially covering, the thumb hole to destabilize low harmonics. [64] Agricola adds that graces (Mordanten), which make the melody subtil, must be learned from a professional (Pfeiffer), and that the manner of ornamentation (Coloratur) of the organist is best of all. Pierre Attaingnant's (fl. Shop and Buy Flauto Dolce Solo sheet music. Indeed, much of what is known about the technique of playing the recorder is derived from historical treatises and manuals dating to the 16th–18th century. Keys are sometimes also used on smaller recorders to allow for comfortable hand stretch, and acoustically improved hole placement and size. There is also evidence of double recorders tuned in thirds, but these are not candidates for the fiauto parts in BWV 1049. Modern recorder players have taken up the practice of playing instrumental music from the period, perhaps anachronistically, such as the monophonic estampies from the Chansonnier du Roi (13th), Add MS 29987 (14th or 15th), or the Codex Faenza (15th), and have arranged keyboard music, such as the estampies from the Robertsbridge codex (14th), or the vocal works of composers such as Guillaume de Machaut and Johannes Ciconia for recorder ensembles. [114] They are also relatively easy to play at a basic level because sound production needs only breath, and pitch is primarily determined by fingering (though excessive breath pressure will tend to drive the pitch sharp). Virtually all recorders manufactured today claim ascendancy to an antique model and most makers active today can trace their trade directly to one of these pioneering makers. Composers such as Bach, Telemann and Vivaldi exploit this property in their concertos for the instrument. Marissen also reads Bach's revisions to the recorder parts in BWV 1057 as indicative of his avoidance of F#6 in BWV 1049, a sign that he only used the difficult note when necessary in designing the part for an alto recorder in F4. 欧文西洋音楽用語の一覧（おうぶんせいようおんがくようごのいちらん）は、頻繁に使われる欧文（イタリア語、ドイツ語、英語、フランス語等）の西洋音楽用語ならびに略語の、アルファベット順一覧で … For example, a recorder with lowest note G4 may be known as a G-alto or alto in G, a recorder with lowest note D5 (also "sixth flute") as a D-soprano or soprano in D, and a recorder in G3 as a G-bass or G-basset. It was first described by Mersenne in Harmonie universelle (1636) as having four fingers on the front, and two thumb holes on the back, with lowest note C6 and a compass of two octaves. The headjoint may be straight or curved. Notably, Jacob Denner is credited with the development of the clarinet from the chalumeau. The csakan (from Hung. Caratteristiche tecniche. In 1505 Giovanni Alvise, a Venetian wind player, offered Francesco Gonzaga of Mantua a motet for eight recorders, however the work has not survived. It is also sometimes called a tenor flute. August 27. Far more recorders survive from the Renaissance than from the Middle Ages. Anthony Rowland-Jones has suggested that the thumb hole on these early flutes was an improvement upon the flageolet to provide a stronger fingering for the note an octave above the tonic, while the seventh finger hole provided a leading tone to the tonic. The recorder is supported by the lips, which loosely seal around the beak of the instrument, the thumb of the lower hand, and, depending on the note fingered, by the other fingers and the upper thumb. These include multiple techniques using the partial closing of the bell: to produce a tone or semitone below the tonic, and to change semitones into dieses (half semitones), which he says can also be produced by "repercussively bending back the tongue". Images of recorders can be found in literature and artwork associated with all of these. Concerto in do maggiore per flautino, archi e B.C., RV 444: I. Allegro non molto-:--/ 0:30; Concerto in do maggiore per flautino, archi e B.C., RV 444: II. Moeck F-Alto/ Treble Recorder Modell Flauto Leggero Baroque Fingering with Key This is wooden Moeck tenor recorder. The recorders' internal and external proportions vary, but the bore is generally reverse conical (i.e. Baroque Flute/Traverso. The wide bore, the metal labium, the octave key for the high registers and the key system with e' foot extension provide for a full and powerful sound. In all aspects, Ganassi emphasizes the importance of imitating the human voice, declaring that "the aim of the recorder player is to imitate as closely as possible all the capabilities of the human voice", maintaining that the recorder is indeed able to do this. Alto Flute Flûte alto en Sol Flauto contralto Flauta alto straigt+curved . These waves produced inside the instrument are not travelling waves, like those the ear perceives as sound, but rather stationary standing waves consisting of areas of high pressure and low pressure inside the tube, called nodes. Octave clefs may be used to indicate the sounding pitch, but usage is inconsistent. He and his son (Thomas Stanesby junior) were the other important British-based recorder-makers of the early 18th century. In recorders, as in all woodwind instruments, the air column inside the instrument behaves like a vibrating string, to use a musical analogy, and has multiple modes of vibration. A complementary view recently advanced by Nikolaj Tarasov is that the recorder, rather than totally disappearing, evolved in similar ways to other wind instruments through the addition of keys and other devices, and remained in use throughout the 19th century, with its direct descendant's popularity overlapping with the late 19th and early 20th century recorder revival. Several changes in the construction of recorders took place in the 17th century, resulting in the type of instrument generally referred to as Baroque recorders, as opposed to the earlier Renaissance recorders. His Musique de joye (1550) contains ricercares and dances for performance on "espinetes, violons & fleustes". It is made of wonderful stained maple wood. Some music probably intended for this group survives, including dance music by Augustine and Geronimo Bassano from the third quarter of the 16th century, and the more elaborate fantasias of Jeronimo Bassano (c. 1580), four in five parts and one in six parts. One of the earliest proposed alternatives, by Thurston Dart, was the use of double flageolets, a suggestion since revealed to be founded on unsteady musicological grounds. Virdung depicts four recorders together: a "baßcontra" or "bassus" (basset) in F3 with an anchor shaped key and a perforated fontanelle, two tenors in C4 and a "discantus" (alto) in G4. The recorder was little used in art music of the Classical and Romantic periods. On some Baroque recorders, the 17th can be produced as the third harmonic of the sixth, leaking hole 0 as well as hole 1, 2 or both. [3] Surviving consorts of this type, identified by their makers marks, include those marked "HIER S•" or "HIE•S" found in Vienna, Sibiu and Verona; and those marked with variations on a rabbit's footprint, designated "!!" Those bell-keys extend easily the range of the instrument to more than three octaves. Much of the vocal music of the 15th, 16th and 17th centuries can be played on recorder consorts, and as illustrated in treatises from Virdung to Praetorius, the choice appropriate instruments and transpositions to play vocal music was common practice in the Renaissance. Visualizza altre idee su flauto traverso, flauto, disegni musica. Like the recorder, the upper thumb hole is used as an octaving vent. Flageolets were generally small flutes, however their lowest note varies. [5] Recorder parts in the Baroque were typically notated using the treble clef, although they may also be notated in French violin clef (G clef on the bottom line of the staff). The pressure inside the bore is higher at the fourth hole than at the fifth, and decreases further at the 6th and 7th holes. Because both hands are typically engaged in holding the recorder or covering the finger holes, the covering of the bell is normally achieved by bringing the end of the recorder in contact with the leg or knee, typically achieved through a combination of bending of the torso and/or raising of the knee. The recorder, if it did persist through the 19th century, did so in a manner quite unlike the success it enjoyed in previous centuries, or that it would enjoy in the century to come in. As the area was not disturbed until the modern excavation, the recorder has been dated to the period of occupation of the castle. The first significant explanation for the recorder's decline was proposed by Waitzman (1967),[89] who proposed six reasons: In the Baroque, the majority of professional recorder players were primarily oboists or string players. It was the favourite flute variety of Theobald Boehm, who perfected its design, and is pitched in the key of G (sounding a perfect fourth lower than written).[2]. He gives many combinations of these syllables and vowels, and suggests the choice of the syllables according to their smoothness, te che being least smooth and le re being most so. In my copy it … Composers who have written for the recorder include Monteverdi, Lully, Purcell, Handel, Vivaldi, Telemann, Johann Sebastian Bach, Paul Hindemith, Benjamin Britten, Michael Tippett, Leonard Bernstein, Luciano Berio, and Arvo Pärt. In normal play, the player blows into the windway (B), a narrow channel in the head joint, which directs a stream of air across a gap called the window, at a sharp edge called the labium (C).